The Complete Works of R. Austin Freeman: Action Thrillers, Murder Mysteries & Detective Stories (Illustrated). R. Austin Freeman
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"My ruminations," I said, "always lead me back to the same point."
"But you mustn't let them," he replied. "Shuffle your data about. Invent hypotheses. Never mind if they seem rather wild. Don't put them aside on that account. Take the first hypothesis that you can invent and test it thoroughly with your facts. You will probably have to reject it, but you will be certain to have learned something new. Then try again with a fresh one. You remember what I told you of my methods when I began this branch of practice and had plenty of time on my hands?"
"I am not sure that I do."
"Well, I used to occupy my leisure in constructing imaginary cases, mostly criminal, for the purpose of study and for the acquirement of experience. For instance, I would devise an ingenious fraud and would plan it in detail, taking every precaution that I could think of against failure or detection, considering, and elaborately providing for, every imaginable contingency. For the time being, my entire attention was concentrated on it, making it as perfect and secure and undetectable as I could with the knowledge and ingenuity at my command. I behaved exactly as if I were proposing actually to carry it out, and my life or liberty depended on its success—excepting that I made full notes of every detail of the scheme. Then when my plans were as complete as I could make them, and I could think of no way in which to improve them, I changed sides and considered the case from the standpoint of detection. I analysed the case, I picked out its inherent and unavoidable weaknesses, and, especially, I noted the respects in which a fraudulent proceeding of a particular kind differed from the bona fide proceeding that it simulated. The exercise was invaluable to me. I acquired as much experience from those imaginary cases as I should from real ones, and in addition, I learned a method which is the one that I practise to this day."
"Do you mean that you still invent imaginary cases as mental exercises?"
"No; I mean that, when I have a problem of any intricacy, I invent a case which fits the facts and the assumed motives of one of the parties. Then I work at that case until I find whether it leads to elucidation or to some fundamental disagreement. In the latter case I reject it and begin the process over again."
"Doesn't that method sometimes involve a good deal of wasted time and energy?" I asked.
"No; because each time that you fail to establish a given case, you exclude a particular explanation of the facts and narrow down the field of inquiry. By repeating the process, you are bound, in the end, to arrive at an imaginary case which fits all the facts. Then your imaginary case is the real case and the problem is solved. Let me recommend you to give the method a trial."
I promised to do so, though with no very lively expectations as to the result, and with this, the subject was allowed, for the present, to drop.
The Portrait
The state of mind which Thorndyke had advised me to cultivate was one that did not come easily. However much I endeavoured to shuffle the facts of the Blackmore case, there was one which inevitably turned up on the top of the pack. The circumstances surrounding the execution of Jeffrey Blackmore's will intruded into all my cogitations on the subject with hopeless persistency. That scene in the porter's lodge was to me what King Charles's head was to poor Mr. Dick. In the midst of my praiseworthy efforts to construct some intelligible scheme of the case, it would make its appearance and reduce my mind to instant chaos.
For the next few days, Thorndyke was very much occupied with one or two civil cases, which kept him in court during the whole of the sitting; and when he came home, he seemed indisposed to talk on professional topics. Meanwhile, Polton worked steadily at the photographs of the signatures, and, with a view to gaining experience, I assisted him and watched his methods.
In the present case, the signatures were enlarged from their original dimensions—rather less than an inch and a half in length—to a length of four and a half inches; which rendered all the little peculiarities of the handwriting surprisingly distinct and conspicuous. Each signature was eventually mounted on a slip of card bearing a number and the date of the cheque from which it was taken, so that it was possible to place any two signatures together for comparison. I looked over the whole series and very carefully compared those which showed any differences, but without discovering anything more than might have been expected in view of Mr. Britton's statement. There were some trifling variations, but they were all very much alike, and no one could doubt, on looking at them, that they were all written by the same hand.
As this, however, was apparently not in dispute, it furnished no new information. Thorndyke's object—for I felt certain that he had something definite in his mind—must be to test something apart from the genuineness of the signatures. But what could that something be? I dared not ask him, for questions of that kind were anathema, so there was nothing for it but to lie low and see what he would do with the photographs.
The whole series was finished on the fourth morning after my adventure at Sloane Square, and the pack of cards was duly delivered by Polton when he brought in the breakfast tray. Thorndyke took up the pack somewhat with the air of a whist player, and, as he ran through them, I noticed that the number had increased from twenty-three to twenty-four.
"The additional one," Thorndyke explained, "is the signature to the first will, which was in Marchmont's possession. I have added it to the collection as it carries us back to an earlier date. The signature of the second will presumably resembles those of the cheques drawn about the same date. But that is not material, or, if it should become so, we could claim to examine the second will."
He laid the cards out on the table in the order of their dates and slowly ran his eye down the series. I watched him closely and ventured presently to ask:
"Do you agree with Mr. Britton as to the general identity of character in the whole set of signatures?"
"Yes," he replied. "I should certainly have put them down as being all the signatures of one person. The variations are very slight. The later signatures are a little stiffer, a little more shaky and indistinct, and the B's and k's are both appreciably different from those in the earlier ones. But there is another fact which emerges when the whole series is seen together, and it is so striking and significant a fact, that I am astonished at its not having been remarked on by Mr. Britton."
"Indeed!" said I, stooping to examine the photographs with fresh interest; "what is that?"
"It is a very simple fact and very obvious, but yet, as I have said, very significant. Look carefully at number one, which is the signature of the first will, dated three years ago, and compare it with number three, dated the eighteenth of September last year."
"They look to me identical," said I, after a careful comparison.
"So they do to me," said Thorndyke. "Neither of them shows the change that occurred later. But if you look at number two, dated the sixteenth of September, you will see that it is in the later style. So is number four, dated the twenty-third of September; but numbers five and six, both at the beginning of October, are in the earlier style, like the signature of the will. Thereafter all the signatures are in the new style; but, if you compare number two, dated the sixteenth of September with number twenty-four, dated the fourteenth of March of this year—the day of Jeffrey's death—you see that they exhibit no difference. Both are in the 'later style,' but the last shows no greater change than the first. Don't you consider these facts very striking and significant?"
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